ee Pye Leif f A COLLECTION OF ORIGINAL DESIGNS BY David BrillForeword 1978: It's a sunny afternoon and John Smith is driving me back to Southampton. | sit admiring the Sussex countryside, as John proves to be an excellent guide. aturally the conversation is about folding since we are on our way home from the British Origami Society convention in Birmingham. 1 ask him a question "John, who do you consider to be the greatest living folder ?" He replies: "Dave Brill”. 1994: Late one sunny aftemoon | am sitting at home in Paris. Much water has flowed under the bridges of my city and 1 still agree with John’s statement. Dave is great because he is unique, When he creates a model he can already see the finished form in his mind; he has a profound understanding of that form, and his skills as a folder are directed by it. Hence the beauty of his models - his Elephant is @ perfect example, Matisse said that the hand must be submissive and obedient to the artist’s intent, He also added that the servant must never be allowed to become the master Study Dave's models and fold them so that your fingers can appreciate this integrity Paperfolding is more than just a recreational pastime adopted from the Far East and intended merely to amuse our children, When one folds a piece of paper, one leaves behind a permanent trace, namely the fold. With the passing of time our joys, Our sorrows, our passions and our cares are successively engraved on our faces; we call them wrinkles. Plateau, valley, mountain and depression are some of the words we use to describe our geographical surroundings. It is within the folds and contours of the brain that our ideas are born, and it is the contours of our hands that allow us to caress our loved ones. We will not dwell on the folds of the human heart; they conceal a secret part of us, hidden away within, undisclosed to others. Let us not squander that It is important to realize that the very act of folding paper implies a far greater understanding of man and his universe than one might at first imagine, Dave Brill is not coment with a superficial view: take any model in this book and you will find it embodies everything we have mentioned Itis a great honour for a Frog* to talk about a Roast’ Beef Jean-Claude Correia Founder of Mouvement Francai (French Paperfolders’ Association) (translation: Edwin Corre) des Plicurs de Papier ® Frog: Frenchman + Roast Beef: EnglishmanPreface This book has been long delayed, While my fellow origami friends and creators have been swift to make collections of their designs, I have not followed suit This is for many reasons, and is despite many hard-to-ignore demands fi those who have appreciated my work. But finally I have managed to clear my desk and set aside any excuses for not getting down to the job. 1 apologize deeply to those who have waited for too long and I hope that they will find their patience has been in some way rewarded. I began my acquaintance with origami in my childhood through the innocent pages of Alfred Bestall's Rupert Annuals, As [ continued to lean more designs, and to acquire new origami books, I realized that origami was for me the perfect activity, No complicated tools or equipment are required, and the raw material is the most easily obtainable: the simple sheet of paper. It was not until | made contact with the British Origami Society in the mid 1970's, meeting Martin Wall and Max Hulme, themselves already accomplished creators, that 1 was moved 10 design my own original models. A thrilling period of friendly rivalry followed where the three of us tried to out-do each other with new techniques and challenges. In any creative sphere, one is stimulated by the ideas of others, and 1 am the first to admit that my work is a distillation of other people's designs. 1 freely acknowledge my debts to my talented colleagues. However, frequently 1 have drawn inspiration from areas other than origami, such as architecture,geometry, art and nature. | encourage all potential origami creators not to wear blinkers! Seek your ideas everywhere, ‘The present richness of origami has, | believe, been accentuated by its inherent restrictions: either the established but unwritten rules such as “no cuts, no gluc, no paint", or the personally adopted ones: in my case these include three dimensionality and avoidance of classic geometry.” I like analogy between origami styles and the richness of cigarette advertising, which also is restricted almost to the point of censorship. Here in England the adman's ingenuity to overcome these restrictions has been taxed to its maximum, and the results are always cryptic and stimulating I believe my origami work provides a bridge between the styles seen in the West: analytical, highly detailed and engineered; and the Eastern approach: minimal and artistic. Thanks to the lessons leamed from my painting teacher, Alan Thompson, | have tried to emphasize the form of the whole rather than home-in on details. The danger is to think that the whole subject is the sum of its parts and to fold each of these in precise representation. This approach leads 10 awkward designs, lacking integrity. To overcome this temptation I have learned to step back from my work periodically, or to hold it at arms length, to judge the overall effect, much as a painter will view his own work in the making.i In my work I have tried (not always successfully) to cultivate a sensitive touch, always to have respect for the paper, and never to ask it to do more than it is able. This “touch’is a thing lacking in the work of many Western folders, whose work can be contorted and ugly. | admire those origami artists whose work is finely executed: anyone can appreciate delicacy and finesse, but sadly they are things rarely seen. In conclusion I sincerely hope you enjoy folding the designs featured in the following pages. The work has been long and painstaking, but ultimately hugely rewarding for me, Dave BrillLioness, Lion and Lion Cub (pp. 150, 159 and 163) Rhinoceros (p.135)Fox Hunt (pp.123, 125 and 128)Oxford and Cambridge Boat Race (pp.198-201)Geppetto, Pinocchio (pp.216 and 220) and Spelling Book (p.224) Hallowe'en Witch (p.210)Christmas Tree Fairy (p.183) Three Wise Men (pp.204-209)Show Jumper (p.2 Father Christmas, Reindeer and Sleigh (pp.193, 228 and 230)Acknowledgments Thanks are due to the following friends and supporters for the help and encouragement they have given me during the preparation of this book: Humi Huzita, for putting me in touch with the publishers, and insisting that I start the work in the first place; Kunihiko Kasahara and Tomoko Fuse, for assuring the publishers of my good tentions; Jean-Claude Correia, for his broad viewpoint and open mind; David Petty, for his painstaking proof-reading; John Smith, for his critical approval of my work; Paul Jackson, for helping me to remove my "blinkers"from time (o time; Max Hulme and Martin Wall, for their friendly and encouraging rivah Neil and Hazel McAllister, for the meticulous photographic work; Doreen Montgomery, for her advice with the complexities of the publisher's contract; The late Iwao Yoshizaki, his successor Yukishige Takahashi, Toshihiro Kuwahara and Akiko Shibata of Japan Publications, Inc. who have demonstrated so much faith in me; All my friends in the international origami movement who have shown appreciation for my work; The British Origami Society which has given me so many opportunities in the origami world. I thank you all deeply.CONTENTS Foreword $ Preface 7 Acknowledgements 17 Signs and Symbols 20 Symbols and Suggestions 21 The Silver Rectangle, A size paper and The V2 proportion 22 Toys and Working Models 23 Emu 24 Exhibitionist 26 Book 28 Walking Man 30 Spectacles 34 Talking Fox 35 Nut and Bolt 36 Thoughts on Diagramming 43 Boxes and Containers 44 Pentagonal Envelope 45 GiftBox 46 Star Container 46 Bottle 50 Yacht 52 Box and Lid 54 Cigarette Packet 58 Matchbox 62 Money Box 64 Honeymoon Box 67 Modular Origami 70 Modular Theories 71 The Rhombie Dodecahedron and its three Stellations 73 Sunken Silver Cube 74 Sunken Silver Icosahedron 75 Sunken Silver Star 76 30 Point Sunken Star 78 Dimpled Silver Dodecahedron 79 Silver Dodecahedra 80 “Woven” Strip Dodecahedron 82 True Woven Dodecahedron 83 Stellated Dodecahedron 84 18 Stained Glass Balls 85 Spiky Star 87 Double Cube 90 Venetian Double Cube 92 ‘Waterbombie Dodecahedron 96 Double Star Flexicube 98 Wer Folding Techniques 104 Animals 105 Lamb and Corgi 106 Mouse 108 Guinea Pig 110 Rabbit 111 Goose 114 Squirrel 119 Foxhound 123 Fox 125 Horseman 128 Rhinoceros 135 Elephant 140 Square versus Equilateral Triangle 149 Lioness 150 Lion 159 Lion Cub 163 Horse 168 Dragon 172 Rules Traditional and Personal 178 Human Figures 180 Mask 181 Christmas Tree Fairy 183 Crown 187 Wand 188 Father Christmas and his Sack 191 Father Christmas 193 Basic Form for Figures 197 Oarsman 198 Seat and Rowlock 199 Oar 200 Boat 200 Cox 201 ‘Three Wise Men 204 Wise Man I 206Wise Man II 207 Wise Man IIL 209 Hallowe'en Witch 210 Hat 210 Broomstick 211 Showjumper 212 StGeorge 214 Spear 215 Shield 215 Geppetto 216 Pinocchio 220 Spelling-Book 224 Groups and Scenes 225 | Ashtray 226 Reindeer 228 Sleigh 230 Square Silver Star 232 Rotating Double Cube Series 233 Single Cube 234 Ideas for Creative Approach 235 Contacts 236 "Bibliography 237 Index 239‘Dotted lines show a previous position anda Equal divisions a | Previous - | : Ad ‘Valley fold Fold over and over Preerease a mountain fold é Equal divisions ofan angle valley fold X-ray view of alayer behind | | ng crease lines and a mountain fold ‘The next drawing shows the paper re-positioned — oA A and larger SO degeeshe)s ‘The next drawing is smaller Fold to make the circled | i oe ieee reverse fl Outside reverse fold [= Repeat on similar layers J 20Symbols and Suggestions Although the level of the work included in this book may appeal more to the experienced folder, who should be well acquainted with the standard folding symbols which are used internationally, I nevertheless feel it is appropriate to include some word of additional explanation at this point. I believe that the symbols pioneered by Akira Yoshizawa in Japan, and continued in the West by Samuel Randlett and Robert Harbin, do offer the best means available of describing a way of folding an origami design .There must be doubts, however, about the overall effectiveness of drawings like this for the beginner, who frequently is discouraged when faced with apparently complicated diagrams and symbols.But again this is not a book that will necessarily fall within the scope of a novice paper-folder, although I hope that those new to origami may find something worth trying. For the sake of uniformity, I have not introduced new symbols,but you may notice some slight variations to the norm.For example I have not always included the repeat symbol as it should be quite obvious in a symmetrical design that a manoeuvre has to be repeated on similar flaps, or on the layers behind. Akira Yoshizawa's practice of folding in the air, rather than on a flat surface is an attractive principle for me. This means that you are fully in contact with the paper, and are not hindered by the apparently "comforting" surface of the table. Nevertheless,the need to have the support of a flat surface in the early stages of the folding of a large design with a sizeable sheet, will at times be essential You'll be able to pick up the paper when it becomes more manageable in the later stages. When folding living creatures, i's worth remembering that precision in the final stages may not always be appropriate. In fact it can be worth experimenting with handling the paper quite roughly in order to obtain a more naturalistic result. Another small point: when it’s necessary to run a crease between two points, I find it easier to "squeeze in" a mountain fold. If a valley fold is altempted then invariably the points you are trying to connect are obscured. the fold is made: see the circled area. ‘You should certainly be aware of all the paper types which you come across, experimenting with them to explore their folding suitabilities. Paper is all around us, and you should not feel it essential to use commercially manufactured origami paper. Types of paper for which T have a particular fondness include common brown wrapping paper which gives the impression that the finished design has been made from wood. Fabriano paper, from Italy, which comes in a variety of weights, is good for wet folding, which I'll describe later. Canson from France has similar qualities, and the available colours are brighter. os When making a valley fold from one point to another, one of these points is Therefore it's easier to tum over usually obscured when and make a mountain fold 21The Silver Rectangle, A size paper, and the 1:2 proportion ‘There are many references in this book to "A" size paper. Although "A4" is well known internationally as the standard paper size, in the USA, paper measuring 8 1/2 x 11 inches is commonplace. The relationship between the sides of all "A" papers is described geometrically as 1:V2. ‘This means that the long side of the rectangle is equal to the diagonal of a square, whose side is equal to the short side of the rectangle. A useful benefit of this rectangle is that if itis, folded in half, short side to short side, then the smaller rectangle obtained has the same proportion as the original, and is also in the ratio 1:¥2. Also known in the origami world as The Silver Rectangle, this paper size is useful to the practising paperfolder for many reasons. It is widely available and thus needs no advance preparation, You'll realise from the above that if you need a smaller version of the design you are working on, its a simple matter to start from a sheet cut in half, The term Silver Rectangle has given rise to many of the titles of the constructions featuring in the Modular Origami section of this book, for example the Dimpled Silver Dodecahedron, and the Sunken Silver Star. ‘The measurements of "A" rectangles are based on metric units, the largest size in common use being AO, equivalent in area to 1 square metre. To help you make the paper size for various designs in this book, here are the measurements of each of the "A" rectangles. Remember though, that if you have an A4 sheet, you can make an AS by simply cutting it in half. Size Inches Centimetres Size Inches Centimetres AO = 4334x3318 118.8X 84.1 Ad = 1134x814 29.7x21.0 Al = 3318x2358 841x594 AS = BIMX5S3/4 = 21.0x14.8 A2 = 2BYBX16U/2 594x420 AG = 534x414 14.8X 10.5 AZ = 16V2X113/4 — 42.0x29.7 AT = 414x27/8 = 10.5x7.4 To form a Silver Rectangle from a U.S. sheet measuring 8 1/2 X 11 inches, all you have to do is cut a 5/8 inch wide strip from the long side. This will not of course be an exact "A" rectangle but will have the correct proportions of 1:¥2. How to cut a Silver Rectangle from any sheet Long rectangle US Standard paper size 2 Wl ‘5/8 inch x 7 discard:Toys and Working Models Emu (p.24) Exhibitionist (p.26) me Walking Man (p.30)Emu This subject is the puppet made famous by the New Zealand entertainer, Rod Hull. He uses his ‘hand to form the face of the bird which This origami version (eall it a frequently attacks and humiliates those people Crocodile if you prefer), uses an ‘whom it dislikes. Although resembling a action mechanism used previously ventriloquist's dummy, Emu never talks ... by Randlett, Momotani and Jackson Crease between 3 | | 5 arrows only 7 8 6 Pull out ae = this sideS00 Partially squash eye flap to make circular opening Reinforce existing creases 12 Hold like this, and squeeze to make Emu flex his jaws!Exhibitionist Also known as a "Flasher", this design was influenced by the human figure designs of Eric Kenneway. The action is not so smooth, and may need a little breaking in. ‘You may be tempted to add a message inside the man, to be revealed when he flashes: "Nothing much to see in here"... or "I just had a flash of inspiration.” 3 4 8 6h Fold up 7 ‘U/Sth approx ‘Open. 26Figure can be mounted on a greetings card with small tab fixed to head to make movement Hold head and foot: pull gently to make figure "flash" ‘Turn back 2 comers to suggest a coat collarA creation which dates back to 1975, this book still remains one of my favourites, and I fold it frequently as a gift. Ithas, I believe, inspired many other books by creators worldwide, some maybe more elegant in concept than this, but I am pleased to have i given others food for thought. Book Lott Precrease, then open out Adjust creases to form pages, and reform pleats ogi : Note gap: bottom of pages lines up with existing crease 7 Lift pleated. section and open all layers left and right Reverse fold symetrically Pleat into 1/8thssmall pleats form the spine Spaces above and below pages are equal open up upper edge Fold up: see 12 for exact au ‘Open layers left and right: swing up ages‘The idea of using two half-bird bases came from Alice Gray in various designs appearing in Robert Harbin’s last paperback, Origami 4 Thad previously tried human figures which were bulky and ill-proportioned. This 2-piece idea may raise a purist’s eybrow, but the Walking Man: 2 piece version Cut square in half to form 2 triangles Reverse fold to make half bird bases vi vii Pull down 2 flaps behind Ieaving short triangular flap in same position proportion of the figure is good and justifies the liberty. In any case I later made a 1-piece variation, but this is thicker and is less well proportioned. ‘The action method I found by accident. Try a game of football with a small waterbomb! a7 Valley fold all layers Flatten Make a sort of petal fold to form triangular tabJ Adjust position of arms Shape head by aintah folds Yi. Chin stands away P from chest Connect upper and lower body Valley fold at hips but avoid creasing triangular tab behind‘Hold like this: ‘Move triangular tab to left and right with middle finger to make man walk Single piece versionBase complete: finish legs, arms and head as for 2 piece versionSpectacles Influenced by a spectacles design of Yoshihide Momotani, this design was created to complete a disguise theme I wanted for a demonstration. The rectangle needs to be about 8 x 16 inches (40 x 20 cms) to be wearable. Try drawing eyes on the lenses. x1 rectangle Note position of interior layers (dotted line)falking Fox \ design which emerged from dle. The basic fold in step stimulating shape to me, first saw it effectively sed by Czech folder, Ivo ef, ina "Snow White and n Dwarves” scene. Try a smalll thickish square to a nthe necessary snap to the ! <4 owt ie “— Lift hidden pointThe complexity of this design may come as rather a surprise after the preceding models in this chapter! It was the product of extensive trial and error as a response to a challenge issued by the Whodunnit column in the British Origami Society magazine in 1976. Nut and Bolt Bolt crease between horizontal creases only at intersection of horizontal creases and crease made in Here a list of then unachieved subjects was published as a stimulus to potential creators. Although you may be tempted to use foil, I don't recommend it: try instead a stiffish conventional paper such as crisp brown ‘wrapping paper. Complete grid with valley folds ] Add one more mountain and valley fold Add mountain foldsAdd Y shaped valley folds then form toatube14 Hold as shown: Repeat process keeping paper down the thread ‘between thumbs taut, collapse thread section‘Tuck in comersNut ag Ba a3 a8 for the bolt is marked by the position of the crease on the below ‘Top valley fold layerSlide inside layer allowing arrowheads to collapse Collapsing in progress Dotted line shows position of inner layer Collapsing Collapse other end of nutThoughts on Diagramming Until the preparation of this book began, I resisted the task of diagramming my work, I have used many rather pompous excuses from time to time to disguise my lack of enthusiasm for this meticulous job... "Making a drawing fixes a design too much: it may be incomplete and I prefer 10 be able to return to it and improve it in the future ” or "I fold for myself, not others, and I don't think that drawings are really necessary” or perhaps " For me the folding is more important than the diagramming”..."I can always lay my hands on an old folded example and work out how to recreate it, that's if I want to recreate it!" It must be said, however, that there many useful bonuses which do often justify the work. It eases communication with other folders with whom you correspond, to show off your latest work: it's far easier to send a set of diagrams, than a rather fragile model that needs to be securely packaged. Frequently it sorts out an ill- defined folding sequence for you. Many times I have "completed" a design which contains a poor method: but making drawings forces you to get these compromises resolved, Remember too that if your design is good enough, then there is the possibility of the drawings being published in one of the many periodicals of origami organisations in the world today. Finally, your drawings provide a tangible record of your work for the future. Somehow a set of diagrams seem to be a much more permanent statement of your work than the actual finished model itself. Over the last decade or so, I have been lucky to have had experience of drawing in a more conventional sense, having studied painting portraits and life drawing at evening classes. To improve drawing skills (and they are skills that can be acquired, not inborn in an individual) I recommend that you study at an art class. I have found that this is a fascinating and stimulating activity which helps my origami work: it has encouraged my sense of form and proportion which has in turn emphasized the integrity of my origami subjects. The ability to draw makes you look at the world around you in a quite new and more analytical way. Thave fervently resisted the recent fashion of making drawings by computer, which to me look very cold and lacking in sometimes appealing imperfections. I prefer the simple tools of pencil, pen and drawing board, Finally, it is most important to give the greatest priority to the drawing of the finished design: it is this that will tempt the reader to fold your work, and therefore this drawing will demand your best efforts! I wish you the best of luck!Boxes and Containers ‘There is something irresistible about a small box: it has a completeness and a simplicity of form which makes it an ideal origami subject. Tomoko Fuse. has shown us that. Not all apparently simple boxes in origami have a simple folding method, however, but the challenge of folding a box to a precise format is always intriguing. In this chapter, there are a variety of boxes and containers, some of which are practical, others which are a technical challenge, providing container and contents from a single sheet. The cigarette packet and matchbox could even be described as trompe l'oeil, and have been known to trick a smoker into accepting the offer of a smoke.... Star Container (p. 46)inspired by the simple on created by David Collier. ed me towards the exploration A., or Silver-rectangle in relation gonal forms; see p.22. ise A size paper see 8 for positioning Existing creases are Reverse folds parallel to horizontal lower edge Tuck in to lock 45Gift Box i Fold past centre point (exact position not A 5 Star cumini > | | oe | i i Insert gift Start from Pentagonal envelope oe & Precrease valley folds and mountain folds Push in to give volume - repeat on each side‘gift box was influenced blintz-form box by Yoshizawa: a relation to tional masu but with corners. Unlike the it modular boxes of oko Fuse, the lid and Wve no direct size relationship, jecessary to make the box smaller than the lid. trial and error the results fully actory, so try again ur first attempt was cessful. ‘Tuck final edge underneath to make symetrical Reverse fold comer at entre Repeat process in 5+6 clockwise around square Pull out corner reverse folded in 619 5 Valley fold twice and tuck in 12 ‘Tuck under 4 “blintz" edges to lock u se Size and proportions 13 of box and lid can be varied by positions of creases in Lid 1+ 15 and Box 9 48Precrease Repeat clockwiseThe bottle was a development of an earlier triangular section bottle folded to have Pat Crawford's three-masted ship placed inside. It was requested by Eric Kenneway for his book Origami Paperfolding for Fun, J Interlock the layers Precrease 2 layers ‘carefully to form this 4 then fold down rectangular tube shape raw edge Now divide into /8ths vertically the GLEE! 5 1 Make inverted °V" shaped Prectease valley fold valley folds crosses on all layers then add 4 vertical valley foldssaghesive book covering available from stationers, holds its crease reasonably but needs a little practi good results. Release layers to trap top of inverted "V" shape which was precreased in 5 Lock layers within neck Make square- section neck with a sort of rabbit ear front and back Close hase of bottle starting with single layer within Fold with conventional origami paper to begin with. For your second attempt, use transparent book-covering film cut toa 12 inches (30 cm) square.Yacht ‘Tuck under the b vertical edge Fold under at 90 degrees $2 1 | Square folded suggested square {| diagonally size 3 inches 4} (colour inside) (750m) ‘ic ei & i 4 a 3 3 Cap suggested square size 7 inches (17 em)Glue the yacht to a small rectangle approximately the same size as the base of the bottle, and insert this inside the bottle before you close the bottle end. (step 14) 7 ‘Tuck inside, then form the other endBo: i ‘The Box and Lid is a particular and Lid favourite and was created to hold a present for a girlfriend in 1977. Itis a particular Divide into 1/5ths favourite of mine and I love the collapsing movement in 1 ae steps 16 and 17. It was published in Kenneway's book Origami Paperfolding for Fun with a different folding method, Ae ee Method by Shuzo Fujimoto [; , fal Repeat 1-5 uti 1/5th divisions coincide Mark valley fold crosses at each end of central white strip Complete horizontal ‘Sth divisions using crosses as guidelines Form into a 3D shape 54Push under using existing creases Form box shapeHold hidden triangle in position ‘with thumb and forefinger of left handLift out white central layers and flatten against sides of box Outside reverse folds Formation of box endCigarette Packet ‘Thie siganiane peer wake direct product of my admiration for Max Hulme's matchbox, which was shown to me at my first BOS convention in 1975. Use a 4x1 rectangle, 20x5 inches (48x12 em) for a finished model slightly smaller than a life-size "packet of ten" 1 Precrease the lid section into eighths: then pleat again noting the location pointand I still enjoy folding jay, although I no Valley, then form another ® "waterbomb base” ‘Tuck behind Similar process to 6 ow allowing diagonal folds § to rotate behindLift the right hand side of the upper "waterbomb base" 16 then roll each side to form Lift the left hand side two cigarettes: note the of the lower waterbomb direction of the rolling base and roll one more process cigarette 7 Form last cigarette Precrease the bottom of the packet, then bring the 20 Jeft and right sides together 18 19 Insert to form packet2 : 5 : EMatchbox The matchbox came after the cigarette packet: like the Nut and Bolt it was in response to the BOS Whodiennit challenge Many other moveable matchboxes emerged from the same stimulus, but I believe mine was the only one with authentic(?) contents! Use a 3x1 rectangle of red paper, recommended size 12x4 inches(30x10cm) out at the raw edge the paper Mountain fold to the left behind, then valley fold to the left in frontfold the white strip downwards at 90 deg. Stare to form the tray section 15 Fold down the matches section Shows the formation of the other end of the tray Swing the partially formed tray underneath Insert one side of the cover into the other fold up the end of the ‘The tray slides matches Gorse: in and out. ‘The matches do not lic flat Tuck the completed ‘matches into the tray‘Use. large square: minimum side length 10 inches (25 em) proportions, and the slot. 1 g Money Box The money box was originally a ballot box: it was inspired by Max Hulme’s matehbox, but uses division into 1/3rds to produce the required Division into 1/3rds: method by Shuzo Fujimoto 3 + 4 Mark only: a very approximate guess will do Fold to meet the first mark, then unfold Fold to the second mark, then repeat the process in steps 12: until the 1/3rd divisions coinei Prectease diagonals ‘on one layer only Precrease these verticals using the ends of the diagonals as reference points ‘Add further verticals, then precrease further diagonals noting that the upper short diagonal are on all layers, and the lower diagonals are. ‘on the upper white layer onlyEncourage the collapsing of the diagonal mitres Form into a rectangular tube shape Push up the interior layer carefully to form the slot Precrease carefully and firmly to form the diagonal "mitres" Fold down a single layer within upper raw edge, followed by the praw edgeFold edges inside to lock the bottom of the boxHoneymoon Box is box was created on my moon in Italy, to contain nt for my wife. Itis complicated and bulky needs careful folding but as some interesting movements. it several times to get 9 best result Lift out the central white strip Use a sheet at least 12 inches (30 cm) square Precrease into eighths, then remove one row of eighths from 2 adjacent sides fold to make rectangular shape with a white central strip Close, adjusting the position of the layers in relation to the pleat Precrease mountain folds ‘Swing point =| downwards behind Repeat at the other with a mountain fold end of the white strip but in mirror image 6720 19 18 Formation of the end of Pull out ’ Soe the box lid from behind 22 View inside the end of the lid Tuck the e% under the di Lift the left Fold the central white strip to the right hand ed; ‘These drawings show in ‘more detail the insertion of the top end of the white strip into the pock ‘The same procedure Gin mirror image) is used at the other end of the white strip Tuck the triangle tunder the central white strip: the model will become 3DFormation of the end of the box View inside the box Swing back the central white strip inside the box Tuck the corner under the diagonal edge behindModular Origami Modular Stars & Balls Stained Glass Balls (p, 85) and Spiky Star (p. 87) 0Modular Theories We have Tomoko Fuse to thank for the recent popularity in Modular or Unit origami. This is the construction of geometric forms from many simply folded units, The joining of the units is achieved by folding alone, and by the insertion of the flap of one unit into the pocket of the next, ‘Tomoko Fuse has managed to open a new door in this already established style, by creating wonderful boxes which display a neatness, a practicality, and an expression not previously seen in modular work. She has additionally shown herself to be great technician in the other areas of the style, by making elaborate polyhedrons and puzzle-like transformations from one shape to another by adding further units to the construction. A favorite design of mine is Fuse’s unit Lizard, with a body which wriggles when shaken. The units are connected by such a simple method, they lock together securely, and yet are able to move smoothly, providing the movement in the body which is so effective, To me, this technique isa brilliant use of an apparently overworked and unpromising starting point. ‘Tomoko Fuse’s Lizard At first I was quite unattracted to the modular fashion, which seemed to me to be a form of origami “knitting’. However following experimentation with a unit based on Yoshizawa's simplest butterfly, it later became an obsession, Thinking at the time that the resulting three-sided pyramid was original, | made a range of geometric solids with it, and several variations of the unit later gave more complex star-shaped polyhedra, I later found that both Tomoko Fuse and John Smith had made similar shapes with an identical unit! This is an inereasingly| E common occurrence, when simple shapes and geometries are being explored. The important point is surely that the design you came up with is original to you at the time, even though discovered separately by others. My own modular predilections have involved the explorations of "A" size rectangles, and their relationship (albeit approximate) with the regular pentagon. Shuzo Fujimoto and David Collier pointed me in these directions. It's worth experimenting also with knotted strips. The pentagonal knot so formed can be used to make a dodecahedron similar to those shown on page 80. David Collier's Pentaga Shuzo Fujimoto’s Pentangle ‘Tomoko Fuse’s work relies on color combination and decorative effect. I prefer to make constructions in plain colored paper, or using one color alone for all units. In this way the spectator is not tempted to admire decorative paper or the Kaleidoscopic patterns created by many-colored constructions but will have to concentrate on the shapes of the design alone. The Double Star Flexicube is a comparatively recent creation based on a plastic toy which has always fascinated me. You may find that a litle glue is helpful here, though I have made several non-glued examples which work satisfactorily when handled carefully. Francis Ow devised a neat method of locking the units by folding alone, but I unfortunately received his suggestions after the diagrams for the design were complete, I'd like to suggest further study of the polyhedron known as the Rhombic Dodecahedron, which to me is a shape of most pleasing proportion. H.M.Cundy and A.PRollett, in their book Mathematical Models (Oxford University Press 1961) suggest interesting ideas with a simple pyramid which can be combined to form three stellations of the Rhombic Dodecahedron as well as the figure itself. ‘The shape of this pyramid looks easy to achieve from an "A" size rectangle, but 1 haven't yet succeeded in producing a satisfactory solution to build these polyhedra despite several attempts. Incidentally the first stellation of the Rhombic Dodecahedron is the same shape as the Star of the Double Star Flexicube.Sunken Silver Cube and Icosahedron A design which examines the relationship between the diagonal of the “A” rectangle and the cube. The unit used is simple to fold. ‘The approximation in the Icosahedron development is acceptable to me, at least, although Kunihiko Kasahara has published an improvernent from a slightly different rectangle with a more precise geometry. Cube (12 units needed) Sunken Silver Icosahedron 4 | 7 d Use an A7 rectangle (one eighth of an Ad) see p. 22, P 7 Unit complete 9 Fold in half and interlock Join four units like this -butleave four flaps free underneath (see 10 & 11) ‘This makes a square dish shape 74Icosahedron (30 units) 3 1 A eiangular sunken pyramid is formed Add 7 more units to make pentagonal cluster of sunken pyramids Join three units: leave three flaps free penne Continge building 5 the structure in the same way, adding 20 more units to make the icosahedron, There is a small inaccuracy in the geometry of the units which makes a small hole at the centre of the sunken pyramids. Nevertheless, the construction is quite stable. ‘Turn the dish shape over, then add four more units inserting cach flap into its appropriate pocket A further four units ‘will complete the Sunken Cube. Flaps are inserted into pockets as before ‘but diagram 13 omits some arrows for clarity. 78. : 76 Sunken Silver Star This unit and the constructions are related to those shown on the previous pages. The unit has an identical triangle added which protrudes from the completed figure. In creating the design, I was influenced by a pointed star design by Tomoko Fuse. I have tried also to make another longer-pointed variation on the same theme, but the unit in this case proved bulky and the locking was less secure. Open up unfolding the upper right & lower left comers (Ad divided into quarters) see p.22. Fold in half, lining up the lower left & upper right quarter diagonalsInterlock 4 units noting carefully the insertion of flaps into pockets Unit complete: it now lies completely flat 4 units connected. Now add 8 more similarly to form 12 pointed sunken star Ensure that the same thing is happening front and back Interlock the layers carefully within, The small right-angled comer (circled) should slide inside the pocket without being accidentally folded over. Hold the unit like this, and raise your hands upwards and together to collapse the unit along existing creases.30 Point Sunken Star ‘Triangular sunken complete Add 12 more units to form this pentagonal shape, comprising 5 sunken pyramids combined Connect 3 units to form triangular sunken pyramid. Pay attention to inserting the flaps of each unit into the correct pocket of the next. (see step 14 of the 12 point sunken star) Continue adding further units to build the completed star (30 units in all are required)impled Silver Dodecahedron ppired by Kunihiko Kasahara's similar design earing in Origami Omnibus. I wanted to make same shape from a more accessible rectangle. spent several hours on a train journey experimenting ith angles, throwing away many partially completed structions in the process. Some care is needed in the ding to avoid bulkiness on the exposed folded edges. 14 Valley to meet imaginary line connecting corner to 1/4 mark A6 rectangle (one quarter of A4) see p. 22. oneach comer 2 a . Interlock the layers within 30 units are needed for the complete structure Same process as 8 then open Valley fold carefully noting the reference points Repeat 4 three \} more timesSilver Dodecahedra t ‘A variation of the Pentagonal Envelope (page 45) and a simpler larger alternative were early experiments with A rectangles and pentagon-related modular designs. The smaller version was dubbed “BOTTOM” (Brill's Own Toilet Tissue Origami Module) ata BOS convention, when we found that some paper towels in the toilet were A size, and a fragile example of the construction was possible! Each construction requires 12 AG rectangles: see p.22. Interlock 3 units like this ‘These edges should be 8 paratlel Fold the left hand comer to the right hand edge Unfold 6 Interlock the two narrow fh while folding in halfsimilar to 7 ix 3 units connected -complete as for the larger construction, Fold in half ‘and interlock the layers Connect 3 groups of S units, ‘Add a final cluster of 3 units to complete the larger dodecahedron,“Woven” Strip Dodecahedron ‘This was inspiredby the marvellous dodecahedron unit of Robert Neale. I was anxious that the finished design should seem to be made from woven strips, which would b an improvement on Neale's version where the units were sl offset. Once again the A rectangle proved to be the solutio to the problem with the diagonal of the rectangle playing an important part in the design process. Starting sheet size AG; see p. 22. Divide into thirds 1. both ways as shown Add further units as shown, continuing with units of 6 different colours to complete the construction 30 units needed in all Interlock three units . a like thisie Woven Dodecahedron development of the previous design: I realised tld make a dodecahedron from strips which really oven together. I am particularly pleased with the ich uses all of an Ad sheet with no waste, The Use an Ad sheet: see p. 22. Divide the short side into 1/6ths, and the long side into 1/12ths, ‘Then cut into 6 equal strips. First cut shown here. nils along the strip yiending at the double In the finished construction each strip \ Re \ is formed into a ring interlocked by ae inserting one end into the other, overlapping Tatecloceitg diginions 2 divisions. The rings are not formed until step 7 6th strip added ee This should be interlocked as described above. Finish the construction by weaving the strips together as shown in Sa and interlocking the ends Lote saree of each strip. Remove any Note the pentagon : - famed diet Pepetchys yori aimeStellated Dodecahedron Borrowing the geometry of a well-known method of cutting a pentagon from a square, T found that this rather clumsy design is possible. Some precision is required in steps 4&7 to ensure that all the layers are folded exactly together. The points of the star are not as sharp as I would Tike. Preerease the single layer only Gently open toa ttube shape. ‘Then reverse fold two opposite comers into the tube. ‘Add further units to make a pentagonal star shape. Add further units to a total number of 30 on the same principle to complete the construction.ied Glass Balls igns employ similar geometry to the previous star :coloured side of the paper is placed inside and then d to give the "stained-glass" impression. The units do old together well until the final stages of the construction, Divide into 1/3rds, and then 1/6th 7 7 ‘Open central a edges to form a 3D shape 9 aN ie ‘ Interlock ff with 2nd unit Continue adding further units to a total of 30 to form the completed construction...see p. 86. 5 units together: insert remaining flap into the pocket of the adjacent unit to form a 3D star shapeStart with an AG rectangle; see p. 22. Fold in half twice as shown "rceaaa' and open short flaps from behind Precrease then open up Tuck in 2 right-angled comers Cay Narrow twice Using the “A” rectangle again, I wanted to make a really pointed star. Iam fond of the result, but there is a small inaccuracy in the geometry of the unit. This is insignificant in practical terms but offends my sense of perfection a little!Stained Glass Ball Stained Glass Ball Spiky StarDouble Cube was fascinated to see this geometric shape in one of M C Escher's prints (which seem to be a constant source of inspiration for paper-folders), and I was determined to make an origami version, Talso made a hollow “frame” variation, but this is not so elegant. There exists a single sheet double cube of similar appearance, by American folder Kenneth Kawamura, Connect the two halves of the construction ' ' ‘ ' ‘ == to complete i i Bw Reverse fold EG 16a Method of connecting short sides of the units, 2 flaps are inserted into 2 pockets.Method of linking 2 units Open out completely Carefully fold in half inserting the left hand Side into the right. ‘The coloured corners at the bottom will move to meet each other. Form a convex pyramid on the leftVenetian Double Cube So-called because this variation of the Double Cube iv ‘emerged during a hot, mosquito-filled, sleepless night in Venice, where I spent a brief holiday in 1985, Curiously 4 different modules are required, unlike the simpler design which makes use of 12 identical units. ‘Cut 6 more rectangles “SS. of a contrasting colour. 12 Note the position of the existing crease. Use this method to out 3x2 rectangles from a square: discard the narrow strip at the bottom t 6 rectangles like ‘ this are required. ~s Note the position t of the existing crease Open out comFold all layers at the right ; 9a isa mirror image AcThese drawings ip you translate Unit A: 3 required ings for Unit A Unit B: 3 required é 13 Note the positions of the small right-angled triangles between the layers Insert the convex right hand side into 12. the coneave left Form to a 3D shape, then collapse carefully.Insert the convex right hand side into xiii the concave left Now collapse carefully Valley fold the small comers vA \ k i 2 Unit C iii 3 required t a xa As before, Unit D is a Unit D ‘mirror image of UnitC. 3 required ‘The above are mirror image drawings of some of the previous steps. Linking of the units Continue linking the units on this principle until two 6 unit pyramids have been formedConnect the two pyramids like this: inside flaps are inserted into inside pockets, and outside flaps are inserted into outside pockets,Waterbombic Dodecahedron ‘The title of this design stems from the similarity of the faceted pyramids to a conventional water- bomb base. The stimulus for the construction was 4 dimpled ball, creator unknown, collected by Digas Ab sectaoye Se in half lengthwise, Lewis Simon. This was made from strips with curved 3 strips like this are needed. scored creases, linked together with cuts and slots. 1 I was tempted to reproduce it without the slots, but was unable to reproduce the curved folds satisfactorily. ‘The final design used straight lines rather than curves. ‘The final locking pushing-in manouevres provide a good S| climax to the folding sequence. Mark the halfway point only Adjust the position of the ring and form anew valley fold Mark a square then valley foldInsert inside second unit Unit complete Unlock the 3rd unit, then insert into the Ist and 2nd units Reconnect the 3rd unit Reform all reverse folds to lock the final shapeDouble Star Flexicube Thad been introduced to this puzzle-like toy by Paul Jackson. It later appeared commercially in plastic. I felt it impossible to reproduce in origami terms until I saw a six-piece star puzzle by David Mitchell. His design, reproducing in paper a wood-block puzzle gave me a clue to folding this result. It needs a little care in handling and flexing. Use an AG rectangle; see p. 22. precrease, then fold in half. Open to form a 3D shape Precrease to complete Left-hand unit. one right-hand unit. All steps 1-10 are 24 units like this seen as mirror images. are needed. 24 units needed.. into a right-hand ube and a left-hand half-cube. Carefully open out ils which will accept the hinge unit, of connecting 3 Mght-hand to make a half-cube. Re-form the two half-cubes, this time including the hinge unit. 2 half-cubes connected by the hinge ‘The arrow indicates the position of the hinge. Half-cube Half-cube made from 3 right made from 3 left- hand units. hand units ‘The arrows point to the 3 edges into which the hinge units can be inserted.L 8 half-cubes linked by 8 hinge units, L.& R indicate half-cubes made from left and right handed units respectively. ‘The heavy black lines indicate the position of the hinge units. _2 of these constructions are ‘This shape can contain the shape shown con the right ‘These structures can be formed by flexing the construction shown in 16 ‘This cube will contain this three-dimensional star,‘Two 8 half-cube constructions fitted together This shows one star emerging: the other half can then be formed into an identical star. This star shape is known as the First Stellation of the Rhombic Dodecahedron 101Double Star Flexieube104 Wet Folding Techniques To the purist who prefers not to introduce any outside tools to influence the direct dialogue between paper and folder, the technique known as 'Wet Folding” may not be immediately attractive. However it is an interesting and useful skill which isn't difficult to acquire, Indeed a lot of mystery has been attached to the process, which is in fact quite a straightforward one Particularly suited to animals and living forms, wet folding has been pioneered by the Japanese master, Akira Yoshizawa. Its advantages include the ability to give both sharp creases and soft curves. The finished form will be much more solid than its dry paper counterpart, and large models can be folded from thickish sheets, These will support their weight and are less likely to collapse than the same subject folded conventionally. Essentially the technique involves lightly wetting the paper before folding, folding swiftly and smoothly, and then allowing the result to dry. You should pay attention to the shape and three dimensionality of the model at all times. Yoshizawa has also used and described a development called "urauchi, where two layers of paper of different thicknesses are scaled together with thick flour paste, The layered sheet is then carefully stuck to a board by its edges with thin line of the same paste, and then left to dry. The sheet is then carefully removed from the board, now quite taught and wrinkle-free. It can then be dampened again by using a spray or a wet towel, prior to folding. I suggest the following tips may help those new to the idea of wet folding techniques. -Choose a thickish paper. Ihave used the heavier grades of Fabriano or Canson Paper to good effect, and have found that even common brown wrapping paper works too, -Don't over wet the paper: it should be floppy, though not dripping with moisture. Useful tools are a spray bottle which gives an even, drip-free mist, a towel, lightly moistened, paperclips or clothes pegs to hold layers together while drying, and possibly also a hair-dryer to speed drying of the finished model. -It may be necessary to re-wet the paper during the folding process, but I prefer to avoid this as it's difficult to ensure that all layers within are evenly penetrated by the water. -Make sure that you are completely familiar with the folding sequence of your chosen design: If folding from a book or diagrams, learn the method by heart before you begin. -Fold swiftly and accurately, in the air if possible, reached a manageable size. I believe it's well worthwhile trying this process which will expand your knowledge of the behavior of paper while being folded. The results will be permanent and often well-suited formal exhibitions or displays. soon as the design hasAnimals This must be the most popular subject in origami: it is certainly one of the most challenging too. In the following pages I have tried to show a range of animals which I worked long and hard over in the 1970s and 1980s: I have tried to make them all three dimensional and with an element of life. Unfortunately it is not always easy to show the finer points of folding in the accepted diagramming style which I have used, but I hope that the photographs of the finished subjects will fill in any gaps in the information. My only message is to persevere if your first folding attempt is unsuccessful. A second go will almost always give a better result, Please try your own variations too: this may open the door to your awn creative origa Lamb and Corgi (p. 106)Lamb and Corgi These are relatively simple animals, both in folding method and finished " form, The reverse fold in step 12 needs careful positioning. I tried some variations with longer rectangles with the hope of making longer legged animals, but the results were not a success, The head and ears section has been used to form the base for the human figure; see p. 197. Repeat 8 & 9 on the upper side 9 Use half a square for the Lamb, 11 and the other half for the Corgi Collapse. The nose goes down behind, while the ears move outwards 1; Precreasing of the 7 neck 3 2 to form the ears ‘Unfold completely‘Move in progress Reverse fold while folding in half Form the rear legs ‘and the tail Lamb complete ‘The Corgi begins with completed Lamb Pull out the white triangle within while reverse-folding the neck 21 lock the chest Carefully push down the back to make it round and 3-dimensional mA fold the front legs Corgi complete intain fold the back legsAnother simply formed animal which uses a variation of the fish base. The technique forming ears was borrowed from Robert Neale's Harlequin mask. The guinea pig was made to order (and actually came before the mouse) for some friends who discovered they had a common interest in these animais which they kept as pets. Reverse fold twice Rabbit ear JA the head flap Release the upper layer Release a layer as beforeNa Note that the crimp. forming the rear legs does not meet the centre line and gives the mouse 3D shape 12 > Valley fold the ears front and back ‘Open the crimp and the layer from within Reform the crimp and lock by ‘mountain folding 16 ‘Squash the head flap Narrow the tail: 16a v oot inde ew 109Start from step 14 of the Mouse ‘Squash the ears folded edge Lock the nose by folding the point underneath, Pleat the pointed Sipe mele then valley fold inside the body trapping a small triangle within.sanxious to avoid all logical reference is when creating this animal, although I ss Ihave tidied up the method in these The twisted head was a compromise the ears from below the head, but Bxitioning gives the rabbit a lively feel. Reverse fold Rabbit Form the rear legs by a sort of petal-fold Shorten the rear legs12 Re-position the head so that the front edge stands vertically v1 ~ ca Reverse fold the tail with a curved Fo 13 e wi ‘Then replace the single layer. Tuck one layer of Pleat to form the the leg behind the head flap two front legs (Open up one layer from within the back of the head flap Shape the belly line 6 with a mountain fold simultaneously shaping aa 3 the front and rear limbs in 2 }4 them 3D, and sep: the front and rear layers slightly 7 r Form the head section with a rabbit-ear while Pleat the front legs, folding the body in half and pull out the pre- formed rear quarters. Precrease the right- ‘Sluk wwiee angled comer 112Shape the back of the neck and valley over one vertical edge of the head flap 4 Outside reverse fold the head the tail a 3D petal-fold 15 16 ‘Shape the ears with small pleats 7 Tuck in the corners of the head in front of the ears 113Goose Use a square minimum size 8 inches (20 ems) Fold 30 degree creases using the halfway marks Mark the halfway point on both sides as shown 114precrease mountain folds Another “folded to order” design. Birds have not been a major success in my origami catalogue and an attempt at a robin more closely resembled ahawk! You may detect the influence of Akira Yoshizawa, who folded a swan for me when I visited him in 1980, Yoshizawa's swan had a most elegant neck which L have not managed to duplicate in this design. 17 Now collapse to form the body and rear legs Narrow and tuck in Reverse fold the neck noting the angle shown here 115Reposition the neck with a reverse fold Pull out one layer front and back 20 Fold in the tip of the beak then narrow the neck Open the neck with a soft valley fold Squash each flap so that the outside edge of the squash lies along the edge of the neck (see 23) Sink the point under one layer of the white paper 11627 26 Outside reverse fold Carefully push in the back and the layer at the base of the tail 30 ¥ Shape the beak and the top of the head and partially release layers within the head to make a rounded head Reverse fold the layer between the legs on the existing crease f taking care not to flatten the model. Narrow the outside layers of each leg to match the layer behind, and tuck inside each leg 117118 Reverse fold each leg twice to suggest webbed feetSquirrel A development of the mouse/guinea pig: the formation of the head and ears needs "care, but if done successfully gives a dramatic move in 26. Further difficulties may emerge in the shaping of the back of the head but a second or third attempt should allow you to obtain a good result. Reverse fold — Make petal fold on the white flap pull out layers from within the rabbit eared flap 910 Lift and \ ‘open up the flap 1 carefully ‘Tur the white layers inside out, to make the flap coloured. Reform the head section 13 Shorten the tip by folding over Lift the front legs and over in thirds 16 15 Lift and precrease the white layer as show: Narrow the front legs this causes the head to open slightly and the and fold the lead in triangular area lying inside the head to stand half to the left, vertically. 12023 pleat the rear legs again Push over the diamond shape and collapse the tail 19 Precrease the small comer fo ide and then open up tail using creases around ‘precreased diamond at the base of the tail Pleat the rear legs forward then unfold. Fold the tip of the tail to the head. Pleat the front legs into the layers between the body. Precrease the rear leg section noting that the crease does not extend to the centre line 121the tail with a curved fold following the shape of the back ee | Outside reverse fold | 24 Pull out the layers inside the tail Narrow the belly-line to lock the rear legs 27 Lift the head further | and soften the back by pushing in gently along the creases shown 4 28 & ‘Make a small V shaped valley fold to bring ae a out the pre-folded head push in gently the point between the ears Suggest an eye by carefully separating the layers | 29 at the side of the head } | RS ‘View from below showing the creases prepared in 15 122early creative expericnces, the blintz bird Foxhound ied to be a saviour for all subjects. I had eeply impressed by George Rhoad’s Elephant Best of Origami by Sam Randlett, and had dreading a treatise on blintzes by Gershon Legman ‘by Dokuohtei Nakano in his publication, ' igami Companion, in the 1970s. I later found the 9 Ho be more a hindrance than a help, producing. which are thick and uneconomical. This dog er a successful treatment of half of a blintz bird base designed to complete the Fox Hunt scene with models on the following pages. b8, p. 125. Narrow and squash the front legs . Start with a 2x1 rectangle minimum size 8x4 inches (20x10 cm) 8 ¢ - Reverse fold the back legs Valley fold the front legs to lie along the outside edges Half ofa 5 Blintz Bird ey, Sink the 2 comers con the left, & repeat 5&6 Valley and squash on the right the layers behind Reverse fold 123Pull out ‘material from inside the head ~ This leg is not flattened Outside reverse fo the head flap Narrow the neck Reverse fold fone back leg Reposition the rear leg in a partially-formed petal-fold ‘Make a crimp in front of both rear legs. This does not meet the cer and makes the body 31 Finishing folds to complete the foxOne of the first animals I made with the blintz bird base is this Fox. I was forced into using the twisted head as the car flaps emerged under the head. This idea was later more successfully developed into forward facing creatures in the Elephant and Rhino, but the Dragon and Rabbit use similar techniques and look sideways or backwards. In the context of the Foxhunt scene, the head posture of the fox fits well. 8 This shape is known as the Blintz Bird Base Open out completely to the coloured si Re-form following these crease lines, at the same time lifting each comer Reverse fold two edges Bring the points together helow 125126 Lift and petal-fold 2 comers, noting the position of the horizontal valley fold 14 ‘Change the front leg valley folds into reverse folds Valley fold Note the white the front legs triangular squashed and reverse fold area at the base of the rear legs front legs Fold the body in half 15 Valley fold the front of the neck, and sq 16 Outside reverse fold the neck18 Lift one layer either side of the tail to make the “brush” Shape the head with a pleat, and roll the point over to make the nose